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Acoustic Guitar Part 5

Matched pair for stereo miking, near-coincident and X/Y.

By Michael Schulze and Lorenz Rychner

Moving on from recording with two mics for a mono blend, as shown in videos 3 and 4, to recording in true stereo with a matched pair of mics. Demonstrates near-coincident and coincident (X/Y) miking, with a pair of Shure KSM 141 condensers, in cardioid. Compares sound resulting from different placements. Discusses time arrival of signals and mono compatibilities.

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Acoustic Guitar Part 5

Matched pair for stereo miking, near-coincident and X/Y.

Michael Schulze and Lorenz Rychner

Moving on from recording with two mics for a mono blend, as shown in videos 3 and 4, to recording in true stereo with a matched pair of mics. Demonstrates near-coincident and coincident (X/Y) miking, with a pair of Shure KSM 141 condensers, in cardioid. Compares sound resulting from different placements. Discusses time arrival of signals and mono compatibilities.

Acoustic Guitar Part 1

One mic, from several angles and distances, looking for the best sound.

Michael Schulze and Lorenz Rychner

Using just one mic, an MXL 2001 large-diaphragm condenser, we're searching for the best sound to be had from an acoustic guitar, exploring capture distances, mic angles and positions.

Looking for the best sound with two mics, a pair of MXL 2001 large-diaphragm condensers, not for stereo but for a balanced blend in mono, to capture both strums and fingerpicking. Explains 3-to-1 rule, and references proximity effect.

Acoustic Guitar Part 4

Two mics, near and far, for mono blend. Phase, time-alignment, DI signal.Two mics, near and far, for mono blend. Phase, time-alignment, DI signal.

Michael Schulze and Lorenz Rychner

Again looking for the best sound with two mics, a pair of MXL 2001 large-diaphragm condensers, not for stereo but for a balanced blend in mono, with a closer and a more distant mic. Explains phase relationship and time-alignment. Introduces DI (Direct-Input) signal (dbx DB12).